Music Trade Review
Issue: 1954 Vol. 113 N. 14 - Page 28
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PRACTICAL PIANO TUNING
By ALEXANDER HART
Formerly with Steinway & Sons Tuning Department, Instructor in
Piano Tuning, Teachers College, Columbia University, N. Y.
Registered Member of the
National Association of Piano Tuners
Notes of Interest on Tuning
EQUAL TEMPERAMENT
Part 3
Procedure
(1) Tune the three Cs, i.e., middle C
to fork. ! (2) Then the upper and lower
Cs, to middle C, making them sound
(4) Next tune E-7 from C-2, your first
major third on the sharp side of the
perfect interval, being cautious not to
give it an excessive sharpness that may
not sound too agreeable to the "ear".
This important interval should be prac-
ticed faithfully that the ear can distin-
guish clearly between perfect intervals
Practical Piano-Tanind
Next tune F between the Cs being a
fifth to the upper C and being a de-
scending fifth, should be tuned some-
what sharp without being too dissonant.
An adopted rule by tuners is to tune
ascending fifths on the flat side of in-
tervals, descending fifths on the sharp
side.
oar
u
clear, just like one tone, exercising great
care to tune all unisons perfect. (3)
Tune G (4) from C (2) on the flat side
of the perfect interval.
Note 1
(1) G is a fifth to the lower and a
fourth to the upper. A good policy is
to test the G between the Cs. It might
be mentioned that the G is expanded to
such a small degree, in fact so close
to equal width the human ear cannot
tell whether the interval is perfect or it
has been tempered.
28
and those having tremolos or beats that
must exist in all thirds.
COPYrt-ICrHT
I9S +
Note 2
Remember to tune E an octave below,
then try to harmonize it in the whole
common chord of C-E-G-C, and its in-
version G, C, E, G. Be watchful regard-
ing C-E, this first major third, you do
not make it smooth instead of sharp.
Endeavor to stress this assurance of
satisfaction on accuracy, as this com-
mon chord is to be the foundation of
the whole chord.
Next tune the octave below to F. Then
tune A below middle C a sharp major
third to F as the E was to C, harmon-
izing the chord of F-A-C-F.
Demonstration
Reverting to part two, all intervals
were tuned perfect. Now try the inter-
val one by one your ear alone will tell
you C-E is too rough to harmonize with
THE MUSIC TRADE REVIEW, NOVEMBER, 1954
PRACTICAL PIANO TUNING
By ALEXANDER HART
Formerly with Steinway & Sons Tuning Department, Instructor in
Piano Tuning, Teachers College, Columbia University, N. Y.
Registered Member of the
National Association of Piano Tuners
Notes of Interest on Tuning
EQUAL TEMPERAMENT
Part 3
Procedure
(1) Tune the three Cs, i.e., middle C
to fork. ! (2) Then the upper and lower
Cs, to middle C, making them sound
(4) Next tune E-7 from C-2, your first
major third on the sharp side of the
perfect interval, being cautious not to
give it an excessive sharpness that may
not sound too agreeable to the "ear".
This important interval should be prac-
ticed faithfully that the ear can distin-
guish clearly between perfect intervals
Practical Piano-Tanind
Next tune F between the Cs being a
fifth to the upper C and being a de-
scending fifth, should be tuned some-
what sharp without being too dissonant.
An adopted rule by tuners is to tune
ascending fifths on the flat side of in-
tervals, descending fifths on the sharp
side.
oar
u
clear, just like one tone, exercising great
care to tune all unisons perfect. (3)
Tune G (4) from C (2) on the flat side
of the perfect interval.
Note 1
(1) G is a fifth to the lower and a
fourth to the upper. A good policy is
to test the G between the Cs. It might
be mentioned that the G is expanded to
such a small degree, in fact so close
to equal width the human ear cannot
tell whether the interval is perfect or it
has been tempered.
28
and those having tremolos or beats that
must exist in all thirds.
COPYrt-ICrHT
I9S +
Note 2
Remember to tune E an octave below,
then try to harmonize it in the whole
common chord of C-E-G-C, and its in-
version G, C, E, G. Be watchful regard-
ing C-E, this first major third, you do
not make it smooth instead of sharp.
Endeavor to stress this assurance of
satisfaction on accuracy, as this com-
mon chord is to be the foundation of
the whole chord.
Next tune the octave below to F. Then
tune A below middle C a sharp major
third to F as the E was to C, harmon-
izing the chord of F-A-C-F.
Demonstration
Reverting to part two, all intervals
were tuned perfect. Now try the inter-
val one by one your ear alone will tell
you C-E is too rough to harmonize with
THE MUSIC TRADE REVIEW, NOVEMBER, 1954
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